1.) Your stunning cityscapes manage to communicate the energy and excitement of the environment, whilst placing their detailed composition within a calmer surrounding plays an interesting role in the overriding feeling in your work. What is the significance of this contrasting balance in the overall piece?
When producing any given work I always strive to create a feeling of excitement with sharp striking angles used to supply different perspectives, which draw the viewer inn. I like making the impossible possible keeping close to reality, making each piece believable.
The contrast in energies of my citiescape work is my surrealistic stance on a modern chaotic world. Contrasts exist in the everyday & are further enriched when put in direct comparison to one another. The combination of the real world & my imagination enhance one another to form a connection between the two.
2.) With the surrealist movement born of the 1920s before reaching wider audiences in the 1930s where do you see it's place in the modern art scene & where do you envisage it heading?
With surrealism now in the modern world it doesn't seem specific to art any longer. To the contrary it is seen in many guises, especially in advertising, comedy, speech! In fact it seems to have almost lost its value and original meaning as people use it when describing either an artwork, taste of food or a movie!
Surrealism for me is the opportunity to make the unreal come alive at the tip of my brush. I enjoy the challenge of making the imagined into believable images, a playful take on my surroundings that inspires a diiferent understanding. Surrealism enables me to respond to a commonly oppressive society where there are no such limits.
3.) You have managed to bring the principles of surrealism into the present-day art scene with your ability to manipulate the modern world to adopt this style. How have you managed to achieve this & what principles do you follow?
I get great satisfaction out of making something surreal and fantastical come to life in my work. I do not know whether I've bought the movement back to the modern day or not as it is difficult to say. I certainly get a lot of fulfillment from seeing people who view my work questioning it and commenting that they have not seen anything like it. Many people say it is unique & memorable. It is great to be remembered in such a competitve industry. My principles are pure and simple, 'to make the impossible, possible', inspired by the power of thought.
4.) Another aspect of your work is figuratively led with numerous creatures being brought to life in a blast of colour on the canvas, as in Cowfarmland pic. In these you introduce an entire new world to be observed. In comparison to your minimalist surrealism, which are loosely based on reality, how does the process differ when entirely created from your imagination?
In the cow farmland series of works, it is at first feasible to think they are more likely to be created from my imagination in comparison to the Cityscapes due to their foreign unrecognised content. It is, in fact, solely the creatures, which derive entirely from my imagination as I use images of exotic landscapes, which set the overall mood of the world they inhabit. I seek to interpret & use an almost expressionist approach by manipulating the colours to accentuate the feeling I am communicating. The creatures themselves are often a result of a dream I have had, which develop a personality as they come to life on the canvas. This is an extremely enjoyable process as they become more defined during the journey of the painting.
The Cowfarmland by Lindsay Pickett Impossible Bridge by Lindsay Pickett
5.) Are you inspired by any of your peers in the contemporary art scene?
I have been inspired by my peers in the past, especially as I was mastering my craft. Artist's such as Hieronymus Bosh & Salvador Dali have been great influences to me. My work now follows a particular process, which is not influenced by other artist's. I tend to be influenced by an idea as opposed to another person's work.
6.) As surrealism rose from the origins of Dadaism in the aftermath of World War I it provides a comment of this space in time. Challenging preconceived ideas of what art 'should be' led people to question the boundaries of the every day. Do you feel that there is an element of present-day questioning in your work?
My art could be regarded as surreal and thusly regarded as present day surrealism, die to the impossible and real elements thrown together. A juxtaposition often found in dreams. Salvador Dali often quoted himself as the camera of his dreams as I indeed regard my eyes and hands that develop these strange pictures a little like how a camera captures images.
In the painting that shows a bent Big Ben called Crooked Politics, this is not only an age of the fantastic but a comment on the dishonesty of society and politics. As the saying goes, there's a lot more to something than meets the eye.